TRIBUTE

DOVER QUARTET PLAYS MOZART

dover_quartet_album_art_booklet_final.indd 1 7/26/16 10:23 AM Several years ago, four gifted students who FOREWORD MOZART had just formed the Dover Quartet while at the Curtis Institute of Music played for me. FOR OUR DEBUT ALBUM, WE HAD At the time, I was sufficiently impressed by QUARTET IN B-FLAT MAJOR, their musicianship and their ensemble to think ALWAYS PLANNED TO PAY TRIBUTE TO K. 589 (23:18) to myself: If they work hard and long, if their 1 Allegro – 6:24 musical ideas continue to mesh, and if the group THE — 2 Larghetto – 6:37 chemistry remains healthy and collegial, (a lot 3 Menuetto: Moderato – 6:23 of “ifs” there for any young quartet), the Dovers BY CAMDEN SHAW so we were particularly excited to learn that our debut would 4 Allegro assai – 3:45 could become one of the most brilliant and come exactly 50 years after the legendary ensemble’s first musically significant string quartets in chamber QUARTET IN F MAJOR, album. All four of us grew up listening to and falling in love with music. I’m delighted to report that it has come to K. 590 (24:14) the Guarneri’s recordings; there is a grittiness, an emotional pass, and this debut CD will give the listener a 5 Allegro moderato – 8:51 potency, and a constantly shifting balance between individuality confirmation of the Dover Quartet’s remarkable 6 Andante – 6:21 and blend that makes their playing transcendent. It’s no musical gifts and the impressive career they have 7 Menuetto: Allegretto – 4:03 overstatement to say that even before we met and studied with already embarked upon. On a personal note, I 8 Allegro – 4:50 members of the Guarneri, they had already shaped the way feel privileged to have been one of their coaches, we felt about : we all entered the Curtis Institute and touched that this CD pays tribute to the STRING QUINTET IN C MINOR, of Music believing that to play in a was among Guarneri String Quartet of which I was a proud K. 406/516B (25:20) the noblest and purest musical pursuits. member. The Dovers have recorded the same last 9 Allegro – 9:41 two Mozart string quartets, K. 589 and K. 590, 10 Andante – 4:25 Our relationship with the Guarneri Quartet deepened once that were on the Guarneri Quartet’s debut album Menuetto in Canone – 4:14 we began our studies at Curtis. was Milena’s private 11 some fifty years ago, and the final work on this Allegro – 6:50 teacher for five years, and I studied for five years with Peter 12 CD, Mozart’s Viola Quintet in C minor, K. 406, Wiley, a former student of who later succeeded includes none other than Michael Tree, violist in TT: (73:10) him as the Guarneri’s cellist. Once our own quartet was born, the Guarneri Quartet, playing second viola. we frequently took coaching sessions with Peter, Michael, and — Arnold Steinhardt, who also teaches at Curtis. Needless to say,

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dover_quartet_album_art_booklet_final.indd 2-3 7/26/16 10:23 AM it was a privilege to see the names himself — seemed the best way to ACKNOWLEDGEMENTS on our favorite recordings slowly acknowledge just how much transform into our mentors and we admire the Guarneri Quartet, friends. We didn’t meet John and how sincerely we hope to carry We would also like to acknowledge the many musicians who Dalley until fairly recently — he on its legacy. had a profound influence on us who were not members of the is notoriously difficult to track Guarneri Quartet. , first violinist of the down — but Milena now owns After David Soyer’s death in 2010, , was the coach who first encouraged us to a beautiful bow he made, and Curtis held a memorial service pursue a professional quartet career, and his system of musical his legendary sound has, for us, in his honor. Peter Wiley and all the principles still guides our interpretations to an immense degree. largely defined the role of the current cello students, myself among We also coached extensively with Pamela Frank — one of second in quartet playing. them, played Klengel’s Hymnus the most inspiring, passionate musicians we know — and with for twelve cellos, and many wonderful the recently departed , whose recordings The Guarneri Quartet’s first things were said about David, his have become a part of almost every long drive we take together. album, released in 1966 on the teaching, and his influence in the (Ms. Frank taught both Joel and Bryan privately at Curtis, RCA Red Seal label, pairs Mozart’s world of music. But to end the service where Joel also studied with Silverstein.) After graduating from last two quartets, K. 589 and — and this is a moment we will never Curtis, we studied for two years at Rice University’s Shepherd K. 590. Both are famously beautiful forget — the whole congregation sat School of Music, where we coached with Norman Fischer, James and difficult pieces, and to debut in silence, transported, as we listened Dunham, and Ken Goldsmith. All three were integral to our a discography with them was to David’s heart-wrenchingly beautiful musical development, and they guided us through our most a bold move. The recording met playing in the slow movement of uncertain years. with much critical acclaim, Mozart’s Quartet K. 589, from the 1966 and is jaw-droppingly gorgeous. recording. The power of that moment We also want to thank Roberto Díaz, president of the Curtis Fifty years later, our decision was indescribable, and I know it Institute and another of Milena’s teachers, for his early and to record these same two quartets was on my mind as we recorded the steadfast support of the quartet, and for all the guidance and — along with the C-minor viola same movement on a cold, clear friendship he continues to provide. quintet, on which we are joined December day in 2015. by none other than Michael Tree THANK YOU TO ALL OF THESE AMAZING MUSICIANS!

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dover_quartet_album_art_booklet_final.indd 4-5 7/26/16 10:23 AM PREFACE M O Z A R T ’ S PRUSSIAN QUARTETS (1789–90)

IN THE FOLLOWING PARAGRAPHS Mozart’s string quartets K. 589 and In spite of the failed business K. 590 are known, along with K. 575, relationship between Mozart WE INCLUDE SOME THOUGHTS ABOUT as the “Prussian” quartets, after and King Friedrich, the quartets Friedrich Wilhelm II, then King of having been written with the EACH WORK. Prussia, who commissioned them. King in mind was integral to their Mozart would most likely have design: because Friedrich was objected to this nickname, however, reputedly a fine amateur cellist, I would like to preface them by noting that we are neither for he was never paid for completing they feature the cello in a soloistic historians nor music theorists. Entire books could be written them, and instead was forced to have fashion not found in Mozart’s about the intricacies of these pieces and the events in Mozart’s them engraved at his own expense, previous quartets. In fact, these life surrounding their composition; of course, we cannot go selling them for what he termed, in pieces feature the cello more into that level of detail here. a frustrated letter, “a ridiculous sum prominently than anything else We’re also not fans of trying to describe in words the way of money.” In fact, the incomplete Mozart wrote, and he admitted the music sounds — that’s what the recording is for! What transaction with King Friedrich to finding their composition we have included is information, some historical and some contributed substantially to Mozart’s “laborious” — he was not familiar analytical, that had a direct and significant impact on our dire financial circumstances in with writing for the instrument interpretations. We hope this will give our listeners a window the last few years of his life, which in this capacity, and in some ways into our discussions and a sense of what was on our minds presumably complicated his this becomes clear to cellists who as we played. relationship with the pieces.

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dover_quartet_album_art_booklet_final.indd 6-7 7/26/16 10:23 AM STRING QUARTET sense of nostalgia, even amidst the jollity of the final bars. perform the works. The cello parts and originality. Third, their N O. 22 IN in the Prussian Quartets are more significance was estimated The opening of the second than just difficult; they are often very presciently by Haydn in this B-FLAT MAJOR movement is marked sotto voce, unidiomatic for the instrument, in famous quote: meaning “like a whisper.” Mozart a way that the much flashier cello K. 589 rarely gave such instructions, “If Mozart had written nothing but his concertos of Haydn, for instance, are so this shows he was particularly violin quartets and the Requiem, they not. However, I interpret this not concerned with capturing the right alone would have been sufficient to as a failure to understand the cello The first point of interest in this tonal color here. Also, it indicates make him immortal.” on Mozart’s part, but instead as a quartet is subtle, but significant: that despite the soaring, vocal cello manifestation of this fact: Mozart’s the piece opens with a falling, line, the sound must be intimate writing is so pure, so perfect, and so decorated triad. Oddly enough, this and tender rather than extroverted: uncompromising in its conception, is very uncommon for Mozart. Take an atmosphere he captured further that it makes one aware of the the other two pieces on this album, by having only the three lower limitations of physical instruments for instance; they both open with voices play. There is also a pattern in realizing his vision. ascending triads. Most of Mozart’s in this movement of trying to reach works begin with a rising figure, but for something and then returning A few more things should be said the falling, gentle line in this first to rest: this is seen in the second about these quartets. First, bar shows us that the mood is wistful theme, in both the first violin and they are the only quartets of Mozart’s and elegant. This more introspective cello parts, and in the cadenza- that were commissioned. Second, character is confirmed by his choice like transition of the cello in the they should be thought of as “late” to re-state the second theme very middle of the movement. This works in his repertoire — not near the end of the movement, where pattern fills the movement with only because they were written very in conventional sonata form it would a sense of awe, as if we are trying near the end of his life, but because not appear — this gives the listener a to comprehend something very of their exceptional complexity

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dover_quartet_album_art_booklet_final.indd 8-9 7/26/16 10:23 AM beautiful, but must accept one would never anticipate from STRING QUARTET did not pan out, it would seem that we will never be able to the innocence of the opening bars. that he wrote the themes in the O. understand it fully. Nevertheless, he doesn’t hold us in N 23 IN Verzeichnis before the quartets darkness for very long, and soon were complete. But does that mean The minuet and trio movement is F MAJOR we’re back in the familiar arms of Mozart later decided to scrap the a perfect example of Mozart’s the theme. The piece is rounded off hairpin? Although that is possible, mastery of elegance, coupled with K. 590 perfectly in the sense that at the what’s more likely is that performers his sense of humor. The minuet very end, there is a codetta with of the time would naturally have is refined and poised, conjuring The first interpretive quandary just a hint of nostalgia that echoes made some sort of connection images of some kind of formal in this quartet arrives at the very what we felt at the end of the first between the dynamics: the concept gathering, while the trio, with its opening, where one must decide movement: the first violin is left of truly subito (sudden) dynamic bubbling laughter and secretive whether or not to crescendo into playing the theme above a simple changes occurring mid-phrase is a exchanges, reminds us that he the second bar. In the score there is accompaniment in a smooth legato, largely Beethovenian innovation. probably would have escaped at no crescendo marked, and because evoking youthful innocence as the As you’ll hear, we compromise in a some point in the evening to tell the first bar is marked “piano” and piece dances off into the distance. sense by blooming somewhat in the jokes at a table in the back. the second “forte,” many performers first bar, and yet still playing more simply play suddenly louder in the strongly in the second than might be The rondo form is one of Mozart’s second bar. We did not record it this expected: our hope is that this will favorite ways to end a piece, way. In Mozart’s Verzeichnis — the not sound shocking, but will instead and there’s a festive nature to this catalogue where he kept a record of convey a burst of joy. Incidentally, one that is refreshing after the his thematic material — there is a this figure serves both as a pickup introspection of the first two hairpin marked from the first bar to bar and as a downbeat bar in the movements. Drama quickly works the second, suggesting a crescendo. movement, which is a very unusual its way into the mix, however, Admittedly, in that same catalogue compositional trick that Mozart as Mozart intersperses fragments he labeled these themes as being “for revisits later in the piece. of the theme with significant His Majesty the King of Prussia,” and silences to create a level of tension because we know the commission

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dover_quartet_album_art_booklet_final.indd 10-11 7/26/16 10:23 AM The second movement is a favorite descending octave figure in the viola. of all of ours, but perhaps means The trio is also unusually structured, STRING QUINTET most to Bryan, who considers with the first phrase containing O. it his “deathbed piece.” This is two asymmetrical five-bar phrases; N 2 IN C MINOR understandable, not only because nevertheless, it is suave, flirtatious, of its beauty, but also because of its and elegant. It’s as if the minuet and K. 406/516B wisdom. There is a sense of calm trio are two people with very different perspective, where both the joy personalities who nonetheless share This piece has a particularly as background music at formal and pain of human existence are an inner secret of asymmetry. interesting history, being the gatherings, and so tended to be understood fully, without judgment, transcription of an earlier work, light, cheerful, and unobtrusive. The last movement of this quartet and with acceptance. Mozart’s Serenade for Wind Octet, The Serenade K. 388 is none of these is nothing short of groundbreaking. K. 388, which is thought to date things. It is powerful, austere, and The Minuet again features the It is elegant, carefree, virtuosic, from 1782. This actually tells us quite haunting, and it commands one’s unusual phrase structure seen in dramatic, and, in a musical sense, a bit about the work: we can hear full attention with its subtle but the first movement: the opening at times downright rude! For the timbre Mozart originally had breathtaking changes of character. theme, which is 14 bars in length, is instance, the development starts by in mind, as well as the large size of Also, its form is not characteristic of divided into two seven-bar phrases raucously pulling the key up a half- the ensemble; and we can reach the a serenade; instead it is structured (already unusual!), in which the step from C major to D-flat without simple but important conclusion like a symphony, and in a sense is first phrase uses the first bar as a any connective tissue: the same that Mozart must have liked the probably best understood as a small- pickup, and the second uses the compositional gesture that shocked piece, or he would not have taken scale symphonic work. But as a string same material as a downbeat. This Beethoven’s private audience when the time to reimagine it. quintet, it becomes distilled into a gives the movement an asymmetric listening to his quartet opus 95. powerful, compact medium, one in feel, as if something is amiss. Perhaps they had not heard Mozart’s As a serenade, this piece would have which each voice must sometimes This feeling is heightened by the K. 590! Regardless, this is as inventive stood out from the crowd. fight to be heard. shocking mood changes between and forward-thinking as anything At that time, serenades were almost cute, playful dances and almost Mozart wrote, and it is as much a exclusively written for performance brutish, loud sections, some thrill to play as it is to listen to. of which include a smear-like 12 13

dover_quartet_album_art_booklet_final.indd 12-13 7/26/16 10:23 AM There are two points in the permanently changed and can no trio, by comparison, is cool, flowing, that when the viola duet (originally first movement that are, for an longer achieve happiness. and exceptionally well organized written for horns) arrives in E-flat interpreter, very significant. The — it consists of a canon al rovescio, major, it functions as a much-needed first is the opening that alternates The Andante represents a welcome which means the imitating voices breath of fresh air. The devious between rage and soft vulnerability calm after the turbulence of the first are iterated in mirror image of one forces return, however, and we truly — and not in the style of opera movement. It serves a restorative another. This unbelievably cordial doubt our chances of making it to buffa, where the drama has a role, giving the listener hope and a discourse (from which the second a happy ending. Thankfully, the comedic aspect. Instead, here we moment of reprieve from the pain viola is excluded) makes the return last variation bursts out in music feel as though we are in real danger that comes before. I won’t say much to the Minuet sound even more as joyful as anything one could and feel real pain. The second more about it, other than that it is shocking than it did before. imagine! Even at the close of such an is a compositional technique in undeniably honest and beautiful, and uncharacteristically stormy work, the exposition that conveys true that — as with Schubert — one gets The last movement comprises a Mozart still ends with joy — but the heartbreak: the second subject the sense that even when the music theme and variations that cover piece remains an edge-of-your-seat contains a chorus-like moment with smiles, there is a tear in the eye. tremendous emotional ground. Much experience. a harmonic progression from C to like the first movement, there are The Minuet and Trio return to the contrasts between outwardly volatile F minor, B-flat, and E-flat, where it drama and violence of the opening finally cadences. By contrast, in the sections and more introspective movement. With many of the ones, but in this case, many of the recapitulation, the same theme starts statements iterated in unison, it with the C to F minor progression, quieter moments feel sinister and often gives the impression of an mysterious rather than damaged. but then goes from G to C minor angry mob, with voices clamoring instead of from B-flat to E-flat. This Mozart is particularly adventurous in to be heard above the din. Mozart’s the third variation, which is entirely conveys even more tragedy than if use of a minuet movement in this he had simply transposed the whole syncopated and features an almost way is particularly biting since 18th sickly, insidious passage between the theme into a minor key; we know century minuets were almost always this theme has the potential to end second violin and second viola. The light and elegant. Instead, we get a atmosphere is so consistently dark happily, yet it instead becomes raucous and dangerous dance. The

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dover_quartet_album_art_booklet_final.indd 14-15 7/26/16 10:23 AM CREDITS

JOEL LINK PRODUCER/ENGINEER Violin: Jean-Baptiste Vuillaume 1857 Paris Judith Sherman Bow: John Norwood Lee EDITING BRYAN LEE Bill Maylone Violin: Riccardo Antoniazzi 1904 Milan RECORDED What a happy experience it was to have been asked to be a part of Bow: François Nicolas Voirin December 8– 10, 2015; the first recording of the wonderful Dover Quartet! Thank you all. MILENA PAJARO-VAN DE STADT Miriam & Robert Gould Viola: Gabrielle Kundert 2004 Olney, MD Rehearsal Hall, Curtis —MICHAEL TREE (copy of Primrose Amati) Institute of Music Bow: David Samuels GRAPHIC DESIGN

CAMDEN SHAW Twin Collective Cello: Samuel Zygmuntowicz 2010 Brooklyn, NY PHOTOGRAPHY Bow: Robert Shallock Lisa-Marie Mazzucco

MICHAEL TREE Viola: Hiroshi Iizuka 1995 Bow:

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